These images could be selected for the 2019 calender. A project I have made for about 20 years together with my dear friend Peter Schaeublin in Schaffhaussen, Switzerland. And the Stamm printers. The calendar has always been a giveaway and is not for sale.

Horses and jockeys, off course. But there would be no races without starters. They assist the jockeys in loading the horses into the boxes and they help calming some nervous horses. Here are e few images from yesterdays races, and some of the starters at Bro Park. It is always such an inspiration to go there.

But, every year there are different artists and a new look, so today is not as before. Go there for an almost once in a lifetime experience. I will be back with my images from my visit soon. Article from The Guardian. 😀 Pelle

Founded in 1989, the Icehotel in Swedish Lapland is built from the snow up each year, using ice from the local river. The rooms are designed by international artists and this year feature spacemen and an ice queen

Top image: The hotel has 35 suites, featuring ice carvings designed by 36 different artists from 17 countries. Queen of the North (created by Emilie Steele and Sebastian Dell’Uva) is one of the more intense rooms, with the bed surrounded by the head and hands of an icy goddess.

The top 10 photography exhibitions of 2017.

I picked this up in The Guardian. 😊 Pelle

About the top image: A still from Incoming by Richard Mosse. Photograph: Courtesy of the artist, Jack Shainman Gallery, New York and carlier|gebauer, Berlin.

Perhaps the most widely discussed exhibition of the year, Mosse’s vast three-screen video installation was not strictly photography, but addressed all the issues that the medium is freighted with as it negotiates the post-truth world. Shot on a hi-tech military surveillance camera that registers body heat from as far away as 30km, Incoming reimagined the contemporary refugee crisis as a Ballardian dystopian drama populated by spectral figures moving slowly through an alien landscape. Beautifully observed moments of heightened intimacy – a lone figure praying to Mecca amid the tumult around him – provide breathing space in an almost overwhelming audiovisual installation.